WARNING: Cannons may make dogs bark, scare your mom, leave your neighbor dumbfounded, make cats panic, wake you up in the middle of the night shouting at the top of your lungs because you think you are being robbed, scare the crap out of you, and/or blow up your ears and brains; among other things...The 1812 Overture, composed by Pyotr Ilyich Tchaikovsky in 1880. This version with cannons!
No copyright infringement intended. The rights of this composition go to their respective owners.
**I'm talking about the recordings**

Discuss/review/recommend the work at https://classicalmusiconly.com/work/johann-strauss-ii/die-fledermaus-x16j
Title : Johann Strauss II - Die FledermausOverture
From Wikipedia,
Die Fledermaus (in English: The Bat;' in French: La Chauve-souris') is an operetta composed by Johann Strauss II to a German libretto by Carl Haffner and Richard Genée.
The original source for Die Fledermaus is a farce by German playwright Julius Roderich Benedix (1811--1873), Das Gefängnis (The Prison). Another source is a French vaudeville play, Le réveillon, by Henri Meilhac and Ludovic Halévy. This was first translated by Carl Haffner into a non-musical play to be produced in Vienna. However, the peculiarly French custom of the réveillon (a midnight supper party) caused problems, which were solved by the decision to adapt the play as a libretto for Johann Strauss, with the réveillon replaced by a Viennese ball. At this point Haffner's translation was handed over for adaptation to Richard Genée, who subsequently claimed not only that he had made a fresh translation from scratch but that he had never even met Haffner.
The operetta premièred on April 5, 1874 at the Theater an der Wien in Vienna, Austria and has been part of the regular operetta repertoire ever since. It currently appears as number 19 on Opera America's list of the 20 most-performed operatic works in North America.

Overture

Overture (Frenchouverture, lit. "opening"; GermanOuvertüre, Vorspiel, i.e., "prelude", lit. "play before") in music is the term originally applied to the instrumental introduction to an opera. During the early Romantic era, composers such as Beethoven and Mendelssohn began to use the term to refer to independent, self-existing instrumental, programmatic works that presaged genres such as the symphonic poem. These were "at first undoubtedly intended to be played at the head of a programme".

History

17th century

The idea of an instrumental opening to opera existed during the 17th century. Peri's Euridice opens with a brief instrumental ritornello, and Monteverdi's L'Orfeo (1607) opens with a toccata, in this case a fanfare for muted trumpets. More important, however, was the prologue, which comprised sung dialogue between allegorical characters which introduced the overarching themes of the stories depicted.

Die Fledermaus

Literary sources

The original source for Die Fledermaus is Das Gefängnis (The Prison), a farce by German playwright Julius Roderich Benedix (1811–1873). Another source is the French vaudeville play Le Réveillon, by Henri Meilhac and Ludovic Halévy, which was first translated by Karl Haffner into a non-musical play to be produced in Vienna. However, the peculiarly French custom of the réveillon (a New Year's Eve supper party) caused problems, which were solved by the decision to adapt the play as a libretto for Johann Strauss, with the réveillon replaced by a Viennese ball. At this point Haffner's translation was handed over for adaptation to Richard Genée, who subsequently claimed not only that he had made a fresh translation from scratch but that he had never even met Haffner.

Performance history

The operetta premièred on 5 April 1874 at the Theater an der Wien in Vienna and has been part of the regular repertoire ever since:

History

In 1986, 18-year-old cartoonist Ben Edlund created The Tick as a mascot for a newsletter of the Norwood, Massachusetts store New England Comics, where he was a customer. Edlund expanded this into stories, beginning with the three-page tale "The Tick" in New England Comics Newsletter #14–15 (July/August– September/October 1986), in which the hero escapes from a mental institution. The character became popular and the store financed a black-and-white comic book series, with the first issue released in June, 1988, and subsequently reprinted at least nine times through the next decade, including later editions with additional content. The Tick's sidekick, Arthur, was introduced in The Tick #4 (April 1989).

Tchaikovsky - 1812 Overture (Full with Cannons)

WARNING: Cannons may make dogs bark, scare your mom, leave your neighbor dumbfounded, make cats panic, wake you up in the middle of the night shouting at the top of your lungs because you think you are being robbed, scare the crap out of you, and/or blow up your ears and brains; among other things...The 1812 Overture, composed by Pyotr Ilyich Tchaikovsky in 1880. This version with cannons!
No copyright infringement intended. The rights of this composition go to their respective owners.
**I'm talking about the recordings**

Johann Strauss II - Die Fledermaus Overture

Discuss/review/recommend the work at https://classicalmusiconly.com/work/johann-strauss-ii/die-fledermaus-x16j
Title : Johann Strauss II - Die FledermausOverture
From Wikipedia,
Die Fledermaus (in English: The Bat;' in French: La Chauve-souris') is an operetta composed by Johann Strauss II to a German libretto by Carl Haffner and Richard Genée.
The original source for Die Fledermaus is a farce by German playwright Julius Roderich Benedix (1811--1873), Das Gefängnis (The Prison). Another source is a French vaudeville play, Le réveillon, by Henri Meilhac and Ludovic Halévy. This was first translated by Carl Haffner into a non-musical play to be produced in Vienna. However, the peculiarly French custom of the réveillon (a midnight supper party) caused problems, which were solved by the decision to adapt the play as a libretto for Johann Strauss, with the réveillon replaced by a Viennese ball. At this point Haffner's translation was handed over for adaptation to Richard Genée, who subsequently claimed not only that he had made a fresh translation from scratch but that he had never even met Haffner.
The operetta premièred on April 5, 1874 at the Theater an der Wien in Vienna, Austria and has been part of the regular operetta repertoire ever since. It currently appears as number 19 on Opera America's list of the 20 most-performed operatic works in North America.

Verdi-La traviata-Overture

Gioachino Rossini - Semiramide (Overture)

Semiramide is an opera in two acts by Gioachino Rossini. The libretto by Gaetano Rossi is based on Voltaire's tragedy Semiramis, which in turn was based on the legend of Semiramis of Babylon. The opera was first performed at La Fenice in Venice on February 3, 1823.
Semiramide (Semiramis) was Rossini's final Italian opera, and took the form of a return to vocal traditions of his youth, a melodrama in which he "recreated the baroque tradition of decorative singing with unparalleled skill". The ensemble-scenes (particularly the duos between Arsace and Semiramide) and choruses are of a high order, as is the orchestral writing, which makes full use of a large pit.
Rossini wrote the title role for his wife, Isabella Colbran. The work starts with a well-known overture, and throughout it calls for outstanding singers in the leading roles. Although the overture is one of several of Rossini's to be widely recorded, the opera is only occasionally performed.Because Rossini's overtures were sometimes shuffled from one opera to another, Rossini would have found the fact that most music lovers today identify his operas by their overture to be ironic. It is well known, for example, that The Barber of Seville, one of the greatest of comic operas, is performed all over the world with an overture that had already served Rossini twice for serious operas. Semiramide, though, has its own overture.
The overture was almost certainly composed last. Unlike many operatic overtures of the day, it borrowed musical ideas from the opera itself, thus making it unsuitable for use with another score. The range and balance of musical ideas, from the hushed, rhythmic opening through the Andantino for four horns (drawn from the opera itself) and the repetition with pizzicato countermelodies in the strings to the lively Allegro, make the overture to Semiramide one of Rossini's finest contributions to the genre and deservedly one of the most popular.Every summer, the Berlin Philharmonic Orchestra holds a summer concert of music guaranteed to please the crowds at the outdoor countryside venue of Waldbühne, a few miles outside Berlin.
Based on the amphitheater in the ancient Greek city of Epidaurus, and nestled in a natural valley, the Waldbuhne theater seats 22,000 in leafy comfort and remains one of Berlin's favorite open air concert venues, with magnificent views of the stage. World class conductors lead the Berlin Philharmonic in evening concerts of popular Italian, French, Russian and American favorites.
This is a recording of the concert from 2006, conducted by Marco Armiliato..

Tchaikovsky - 1812 Overture (Full with Cannons)

WARNING: Cannons may make dogs bark, scare your mom, leave your neighbor dumbfounded, make cats panic, wake you up in the middle of the night shouting at the top of your lungs because you think you are being robbed, scare the crap out of you, and/or blow up your ears and brains; among other things...The 1812 Overture, composed by Pyotr Ilyich Tchaikovsky in 1880. This version with cannons!
No copyright infringement intended. The rights of this composition go to their respective owners.
**I'm talking about the recordings**

SUPPE：Overture from [Light Cavalry]

Verdi-La traviata-Overture

Gioachino Rossini - Semiramide (Overture)

Semiramide is an opera in two acts by Gioachino Rossini. The libretto by Gaetano Rossi is based on Voltaire's tragedy Semiramis, which in turn was based on the legend of Semiramis of Babylon. The opera was first performed at La Fenice in Venice on February 3, 1823.
Semiramide (Semiramis) was Rossini's final Italian opera, and took the form of a return to vocal traditions of his youth, a melodrama in which he "recreated the baroque tradition of decorative singing with unparalleled skill". The ensemble-scenes (particularly the duos between Arsace and Semiramide) and choruses are of a high order, as is the orchestral writing, which makes full use of a large pit.
Rossini wrote the title role for his wife, Isabella Colbran. The work starts with a well-known overture, and throughout it c...

Tchaikovsky - 1812 Overture (Full with Cannons)

WARNING: Cannons may make dogs bark, scare your mom, leave your neighbor dumbfounded, make cats panic, wake you up in the middle of the night shouting at the to...

WARNING: Cannons may make dogs bark, scare your mom, leave your neighbor dumbfounded, make cats panic, wake you up in the middle of the night shouting at the top of your lungs because you think you are being robbed, scare the crap out of you, and/or blow up your ears and brains; among other things...The 1812 Overture, composed by Pyotr Ilyich Tchaikovsky in 1880. This version with cannons!
No copyright infringement intended. The rights of this composition go to their respective owners.
**I'm talking about the recordings**

WARNING: Cannons may make dogs bark, scare your mom, leave your neighbor dumbfounded, make cats panic, wake you up in the middle of the night shouting at the top of your lungs because you think you are being robbed, scare the crap out of you, and/or blow up your ears and brains; among other things...The 1812 Overture, composed by Pyotr Ilyich Tchaikovsky in 1880. This version with cannons!
No copyright infringement intended. The rights of this composition go to their respective owners.
**I'm talking about the recordings**

Discuss/review/recommend the work at https://classicalmusiconly.com/work/johann-strauss-ii/die-fledermaus-x16j
Title : Johann Strauss II - Die FledermausOverture
From Wikipedia,
Die Fledermaus (in English: The Bat;' in French: La Chauve-souris') is an operetta composed by Johann Strauss II to a German libretto by Carl Haffner and Richard Genée.
The original source for Die Fledermaus is a farce by German playwright Julius Roderich Benedix (1811--1873), Das Gefängnis (The Prison). Another source is a French vaudeville play, Le réveillon, by Henri Meilhac and Ludovic Halévy. This was first translated by Carl Haffner into a non-musical play to be produced in Vienna. However, the peculiarly French custom of the réveillon (a midnight supper party) caused problems, which were solved by the decision to adapt the play as a libretto for Johann Strauss, with the réveillon replaced by a Viennese ball. At this point Haffner's translation was handed over for adaptation to Richard Genée, who subsequently claimed not only that he had made a fresh translation from scratch but that he had never even met Haffner.
The operetta premièred on April 5, 1874 at the Theater an der Wien in Vienna, Austria and has been part of the regular operetta repertoire ever since. It currently appears as number 19 on Opera America's list of the 20 most-performed operatic works in North America.

Discuss/review/recommend the work at https://classicalmusiconly.com/work/johann-strauss-ii/die-fledermaus-x16j
Title : Johann Strauss II - Die FledermausOverture
From Wikipedia,
Die Fledermaus (in English: The Bat;' in French: La Chauve-souris') is an operetta composed by Johann Strauss II to a German libretto by Carl Haffner and Richard Genée.
The original source for Die Fledermaus is a farce by German playwright Julius Roderich Benedix (1811--1873), Das Gefängnis (The Prison). Another source is a French vaudeville play, Le réveillon, by Henri Meilhac and Ludovic Halévy. This was first translated by Carl Haffner into a non-musical play to be produced in Vienna. However, the peculiarly French custom of the réveillon (a midnight supper party) caused problems, which were solved by the decision to adapt the play as a libretto for Johann Strauss, with the réveillon replaced by a Viennese ball. At this point Haffner's translation was handed over for adaptation to Richard Genée, who subsequently claimed not only that he had made a fresh translation from scratch but that he had never even met Haffner.
The operetta premièred on April 5, 1874 at the Theater an der Wien in Vienna, Austria and has been part of the regular operetta repertoire ever since. It currently appears as number 19 on Opera America's list of the 20 most-performed operatic works in North America.

Semiramide is an opera in two acts by Gioachino Rossini. The libretto by Gaetano Rossi is based on Voltaire's tragedy Semiramis, which in turn was based on the legend of Semiramis of Babylon. The opera was first performed at La Fenice in Venice on February 3, 1823.
Semiramide (Semiramis) was Rossini's final Italian opera, and took the form of a return to vocal traditions of his youth, a melodrama in which he "recreated the baroque tradition of decorative singing with unparalleled skill". The ensemble-scenes (particularly the duos between Arsace and Semiramide) and choruses are of a high order, as is the orchestral writing, which makes full use of a large pit.
Rossini wrote the title role for his wife, Isabella Colbran. The work starts with a well-known overture, and throughout it calls for outstanding singers in the leading roles. Although the overture is one of several of Rossini's to be widely recorded, the opera is only occasionally performed.Because Rossini's overtures were sometimes shuffled from one opera to another, Rossini would have found the fact that most music lovers today identify his operas by their overture to be ironic. It is well known, for example, that The Barber of Seville, one of the greatest of comic operas, is performed all over the world with an overture that had already served Rossini twice for serious operas. Semiramide, though, has its own overture.
The overture was almost certainly composed last. Unlike many operatic overtures of the day, it borrowed musical ideas from the opera itself, thus making it unsuitable for use with another score. The range and balance of musical ideas, from the hushed, rhythmic opening through the Andantino for four horns (drawn from the opera itself) and the repetition with pizzicato countermelodies in the strings to the lively Allegro, make the overture to Semiramide one of Rossini's finest contributions to the genre and deservedly one of the most popular.Every summer, the Berlin Philharmonic Orchestra holds a summer concert of music guaranteed to please the crowds at the outdoor countryside venue of Waldbühne, a few miles outside Berlin.
Based on the amphitheater in the ancient Greek city of Epidaurus, and nestled in a natural valley, the Waldbuhne theater seats 22,000 in leafy comfort and remains one of Berlin's favorite open air concert venues, with magnificent views of the stage. World class conductors lead the Berlin Philharmonic in evening concerts of popular Italian, French, Russian and American favorites.
This is a recording of the concert from 2006, conducted by Marco Armiliato..

Semiramide is an opera in two acts by Gioachino Rossini. The libretto by Gaetano Rossi is based on Voltaire's tragedy Semiramis, which in turn was based on the legend of Semiramis of Babylon. The opera was first performed at La Fenice in Venice on February 3, 1823.
Semiramide (Semiramis) was Rossini's final Italian opera, and took the form of a return to vocal traditions of his youth, a melodrama in which he "recreated the baroque tradition of decorative singing with unparalleled skill". The ensemble-scenes (particularly the duos between Arsace and Semiramide) and choruses are of a high order, as is the orchestral writing, which makes full use of a large pit.
Rossini wrote the title role for his wife, Isabella Colbran. The work starts with a well-known overture, and throughout it calls for outstanding singers in the leading roles. Although the overture is one of several of Rossini's to be widely recorded, the opera is only occasionally performed.Because Rossini's overtures were sometimes shuffled from one opera to another, Rossini would have found the fact that most music lovers today identify his operas by their overture to be ironic. It is well known, for example, that The Barber of Seville, one of the greatest of comic operas, is performed all over the world with an overture that had already served Rossini twice for serious operas. Semiramide, though, has its own overture.
The overture was almost certainly composed last. Unlike many operatic overtures of the day, it borrowed musical ideas from the opera itself, thus making it unsuitable for use with another score. The range and balance of musical ideas, from the hushed, rhythmic opening through the Andantino for four horns (drawn from the opera itself) and the repetition with pizzicato countermelodies in the strings to the lively Allegro, make the overture to Semiramide one of Rossini's finest contributions to the genre and deservedly one of the most popular.Every summer, the Berlin Philharmonic Orchestra holds a summer concert of music guaranteed to please the crowds at the outdoor countryside venue of Waldbühne, a few miles outside Berlin.
Based on the amphitheater in the ancient Greek city of Epidaurus, and nestled in a natural valley, the Waldbuhne theater seats 22,000 in leafy comfort and remains one of Berlin's favorite open air concert venues, with magnificent views of the stage. World class conductors lead the Berlin Philharmonic in evening concerts of popular Italian, French, Russian and American favorites.
This is a recording of the concert from 2006, conducted by Marco Armiliato..

Tchaikovsky - 1812 Overture (Full with Cannons)

WARNING: Cannons may make dogs bark, scare your mom, leave your neighbor dumbfounded, make cats panic, wake you up in the middle of the night shouting at the top of your lungs because you think you are being robbed, scare the crap out of you, and/or blow up your ears and brains; among other things...The 1812 Overture, composed by Pyotr Ilyich Tchaikovsky in 1880. This version with cannons!
No copyright infringement intended. The rights of this composition go to their respective owners.
**I'm talking about the recordings**

Johann Strauss II - Die Fledermaus Overture

Discuss/review/recommend the work at https://classicalmusiconly.com/work/johann-strauss-ii/die-fledermaus-x16j
Title : Johann Strauss II - Die FledermausOverture
From Wikipedia,
Die Fledermaus (in English: The Bat;' in French: La Chauve-souris') is an operetta composed by Johann Strauss II to a German libretto by Carl Haffner and Richard Genée.
The original source for Die Fledermaus is a farce by German playwright Julius Roderich Benedix (1811--1873), Das Gefängnis (The Prison). Another source is a French vaudeville play, Le réveillon, by Henri Meilhac and Ludovic Halévy. This was first translated by Carl Haffner into a non-musical play to be produced in Vienna. However, the peculiarly French custom of the réveillon (a midnight supper party) caused problems, which were solved by the decision to adapt the play as a libretto for Johann Strauss, with the réveillon replaced by a Viennese ball. At this point Haffner's translation was handed over for adaptation to Richard Genée, who subsequently claimed not only that he had made a fresh translation from scratch but that he had never even met Haffner.
The operetta premièred on April 5, 1874 at the Theater an der Wien in Vienna, Austria and has been part of the regular operetta repertoire ever since. It currently appears as number 19 on Opera America's list of the 20 most-performed operatic works in North America.

Gioachino Rossini - Semiramide (Overture)

Semiramide is an opera in two acts by Gioachino Rossini. The libretto by Gaetano Rossi is based on Voltaire's tragedy Semiramis, which in turn was based on the legend of Semiramis of Babylon. The opera was first performed at La Fenice in Venice on February 3, 1823.
Semiramide (Semiramis) was Rossini's final Italian opera, and took the form of a return to vocal traditions of his youth, a melodrama in which he "recreated the baroque tradition of decorative singing with unparalleled skill". The ensemble-scenes (particularly the duos between Arsace and Semiramide) and choruses are of a high order, as is the orchestral writing, which makes full use of a large pit.
Rossini wrote the title role for his wife, Isabella Colbran. The work starts with a well-known overture, and throughout it calls for outstanding singers in the leading roles. Although the overture is one of several of Rossini's to be widely recorded, the opera is only occasionally performed.Because Rossini's overtures were sometimes shuffled from one opera to another, Rossini would have found the fact that most music lovers today identify his operas by their overture to be ironic. It is well known, for example, that The Barber of Seville, one of the greatest of comic operas, is performed all over the world with an overture that had already served Rossini twice for serious operas. Semiramide, though, has its own overture.
The overture was almost certainly composed last. Unlike many operatic overtures of the day, it borrowed musical ideas from the opera itself, thus making it unsuitable for use with another score. The range and balance of musical ideas, from the hushed, rhythmic opening through the Andantino for four horns (drawn from the opera itself) and the repetition with pizzicato countermelodies in the strings to the lively Allegro, make the overture to Semiramide one of Rossini's finest contributions to the genre and deservedly one of the most popular.Every summer, the Berlin Philharmonic Orchestra holds a summer concert of music guaranteed to please the crowds at the outdoor countryside venue of Waldbühne, a few miles outside Berlin.
Based on the amphitheater in the ancient Greek city of Epidaurus, and nestled in a natural valley, the Waldbuhne theater seats 22,000 in leafy comfort and remains one of Berlin's favorite open air concert venues, with magnificent views of the stage. World class conductors lead the Berlin Philharmonic in evening concerts of popular Italian, French, Russian and American favorites.
This is a recording of the concert from 2006, conducted by Marco Armiliato..

Overture

Overture (Frenchouverture, lit. "opening"; GermanOuvertüre, Vorspiel, i.e., "prelude", lit. "play before") in music is the term originally applied to the instrumental introduction to an opera. During the early Romantic era, composers such as Beethoven and Mendelssohn began to use the term to refer to independent, self-existing instrumental, programmatic works that presaged genres such as the symphonic poem. These were "at first undoubtedly intended to be played at the head of a programme".

History

17th century

The idea of an instrumental opening to opera existed during the 17th century. Peri's Euridice opens with a brief instrumental ritornello, and Monteverdi's L'Orfeo (1607) opens with a toccata, in this case a fanfare for muted trumpets. More important, however, was the prologue, which comprised sung dialogue between allegorical characters which introduced the overarching themes of the stories depicted.

Gioachino Rossini - Semiramide (Overture)...

Ivory Tears

When lonliness laysher huring hands on me,There's a place I always can goI'll pour out my soul, to my old pianoAnd I let those old ivories cry for meIvory tears, ivory tears,my old piano cries for me,Ivory tears, ivory tears,dripping from every melodySome lonely people,they turn to the jukebox,Others turn to whiskey and wineBut, when it's crying time for me,well, I turn to my ol' pianoAnd I let those old ivoriescry for meIvory tears, ivory tears,my old piano, it's crying, cryingIvory tears, ivory tears,